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 REFLECTIONS 
 
 UPON 
 
 OH. GOUNOD'S SACKED TEILOGY, 
 
 “THE REDEMPTION.” 
 
 INTRODUCTION—CHAOS. 
 
 M. Gounod has thought fit to begin this work with an instrumental 
 introduction descriptive of Chaos. It is not clear whether in the 
 general mind, Chaos means a primal state of things, subject to natural 
 laws, or a condition of things prior to the advent of law—if such a con¬ 
 dition can be conceived. The former, it would appear, is the meaning 
 intended to be conveyed, because “ The Spirit of God moved upon 
 the face of the waters,” and this is the idea of Chaos which M. Gounod 
 attempts to interpret. 
 
 Like his great predecessor, Haydn, Gounod, at the outset of his 
 imagining, hears the note C sounding over the void. Haydn hears 
 it begin softly, then swell gradually, then die away. Gounod hears 
 it as a sustained massive pianissimo sound. Haydn intended, pro¬ 
 bably, to suggest the idea of space. Gounod, it appears to us, intends 
 to impress the idea of “ The Spirit of God.” Throughout the succes¬ 
 sion of dissonances and crude harmonies, of which this short move¬ 
 ment mainly consists, this sound, C, is ever recurring, and always 
 softly, and into the major harmony of this note the above successions 
 resolve three times in the course of the movement. 
 
 In this introduction M. Gounod shows somewhat conspicuously that 
 power which gives to the “ Redemption ” some of its more important 
 features, and distinguishes its author, perhaps, more than anything 
 else from other great composers—the power of forming new combina¬ 
 tions of sounds, of divining new paths in the wildnerness of tone, not 
 paths clear and bright, but paths that can be travelled. He writes 
 new chords, not always pleasing—particularly at first—but that the 
 ear can bear; and sometimes successions of such chords, where, 
 amidst much crudeness, if not positive harshness, the ear neverthe¬ 
 less realises just sufficient clearness to recognise a dim relation of the 
 harmonic forms, until the open country of music is reached, and the 
 
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 M 
 
 V 
 
2 
 
 ear finds itself among more familiar effects. Original discords resolv¬ 
 ing into ordinary discords, or even ordinary chords, are not a special 
 sign of creative power. In the movement in question, however, we 
 have discords resolving into chords or their inversions, consisting of 
 two superposed major thirds, and producing a combined impression 
 of partial concord amidst crudeness, but not actual dissonance. The 
 repose of Chaos is still unrest, its highest light is shadowed, its most 
 perfect harmony, turgid. The noteworthy part of the matter is this: 
 that these peculiar resolutions not only can be borne by the ear, but 
 get less and less displeasing the oftener they are heard. We have no 
 hesitation in expressing our conviction that M. Gounod has made 
 onward steps in the region of harmony which will enlarge perma¬ 
 nently the available resources of musical effect; that in harmony he 
 is a true prophet, uttering that which now appears strange, but 
 which in time all will understand. To recur to this opening move¬ 
 ment, no attempt is made to introduce a theme, or an approach to one. 
 It is, as it were, a feeling about amidst an unknown world of sound ; 
 at first discords can only resolve into crude harmony—effect halfway 
 between concord and discord; subsequently the perfect harmony of 
 C is arrived at as the light becomes clearer—the Spirit of God more 
 manifest; then massive harmonies succeed one another, intended pos¬ 
 sibly to suggest fundamental form becoming unfolded. Ultimately, by 
 passing through several keys before terminating, by the perfect 
 cadence in C, these chords take in all the notes of the scale, embrace 
 all the elements of harmonic effect, suggesting the gathering of 
 nature’s yet unapplied primal forces. In all this, not only is there 
 no theme, or attempt at melody, but even no beauty, or attempt at 
 beauty in harmony. Breadth and fulness, as regards the materials of 
 effect, are suggested, but no application of these materials is attempted. 
 This may exhibit the extreme of musical reticence, but the reticence 
 of those who can speak, is in some circumstances highly suggestive. 
 
 THE FALL. 
 
 The music to the words “ 0 Lord when Thou didst rest from the 
 work of creation, Thou didst call very good the things which thou 
 hadst made. Of the works of Thy hands, by Thy predestination, was 
 the father of men appointed to be head,” is in the form of a recitative 
 a tempo, for tenor. The vocal part consists largely of the repetition 
 of one note, supported by the strings in unison, and octaves ; relieved 
 at intervals by a short but rich subject in full harmony for the wood , 
 the full orchestra entering at the word “ head.” The character of the 
 voice part is prodamcitory , and the effect of the accompaniment da- 
 rionlilce, as if it would peal through the universe ; suggestive of the 
 far-reaching nature of the facts. 
 
 The words beginning 
 
 “ But since he, in revolt, blindly refused to hearken, 
 
 To Thy divine command, that which thou wouldst have done,” 
 
3 
 
 are set, still in recitative form, a tempo, for bass, in a passage ascend¬ 
 ing by semitones, each step occupying a bar. The noteworthy 
 thing in this is the accompaniment. Each step in the vocal part is 
 accompanied by a different common chord with the pluperfect, or 
 sharp fifth, in all inversions. Composers, as a rule, employ this 
 chord somewhat rarely, and when they do use it, the chord appears 
 only in one position, and the ear is soon relieved by the sharp fifth 
 passing to an essential note of some ordinary chord or discord. But 
 here, this chord, with its sharp fifth, is used as freely as if it were a 
 regular common chord: it is inverted ruthlessly, and the sharp fifth 
 is not resolved at all, but the chord, after appearing in four positions, 
 is succeeded by another with the sharp fifth, and this, in the same way 
 by another, seven common chords with the sharp fifth, following 
 one another in this way. This writing is both novel and bold, and if M. 
 Gounod had set himself to exemplify in new effects only the principles 
 of procedure contained in works of the past, it might be said that he 
 here sets these principles at defiance. But he does not set himself to 
 do this, but to describe the ideas of his literary text in effects of 
 sound, and in doing this he claims perfect independence. The re¬ 
 sult is that in essaying new effects he discovers new principles of 
 musical expression. 
 
 The next point calling for comment, is the melody typical of the 
 Redeemer. In the attempt to typify this idea in any melody there 
 may appear a certain want of all feeling of propriety, an attempt to 
 push even melodic expression beyond its bounds. Eor it may 
 be said, “ how can any melody stand out from, and above, other 
 melodies in a way comparable to the w r ay in this idea stands out 
 from, and above, all other ideas ? ” The character and mission of the 
 “Messiah” in their varied phases, took not a melody of Handel, but 
 the whole of his unapproachable masterpiece, to express adequately. 
 The explanation to us is, that M. Gounod intends to illustrate one aspect 
 only of this idea—the human aspect. He approaches the Saviour as 
 a child—sees only the qualities of intense love, tenderness, and 
 graciousness, and these qualities are expressed vividly in this eloquent 
 melody which, as it consists of just detached phrases, lends itself 
 easily to expansion by modulation, without perceptible break of out¬ 
 line ; and as its lineaments thus appear in new keys, they seem to 
 possess ever increasing brightness and intensity of expression. 
 
 The celestial chorus, “ The earth is my possession,” is in the form 
 of a chorale. It is original in outline, clear in effect, and harmonised 
 in Gounod’s distinctly superior manner. To us, however, it does not 
 sound like a celestial chorus. This form of composition, the chorale , 
 is so much associated with supplication, or the humble praise of 
 mortals, that it seems to belong to the earth. It is, therefore due, 
 no doubt, to the fact that this particular composition refers to the 
 earthly mission of Christ, that it contains so evidently the note of 
 mortality, and not the exultant strain which composers generally hear 
 as proceeding from a Heavenly choir. 
 
4 
 
 PAET I.—CALVABY. 
 
 The first part of the work is occupied with the crucifixion. There 
 is this peculiarity in the literary treatment of the subject. The prin¬ 
 cipal incidents are depicted as actually occurring, but the narrative is 
 interrupted occasionally by poetic apostrophe. The points where the 
 realistic attitude gives way to the poetic, are, at the choruses, “ Forth 
 the royal banners go,” “ The reproaches,” “ Beside the cross remain¬ 
 ing,” with the solo “ While my watch I am keeping the chorale , 
 “ Lord Jesus, Thou to all bringest light and salvation,” and the final 
 chorus, “ For us the Christ is made a victim availing.” The portions 
 treated in a realistic spirit are, The Condemnation, The going to Calvary 
 (excepting the choral portion of the march), The Crucifixion, Mary at 
 the foot of the Cross (excepting the chorus and solo terminating this 
 scene), the episode of The two thieves, The death of Jesus, and The 
 Centurion. These two generally different literary attitudes produce 
 corresponding differences in the music. In speaking of the music 
 we will refer first to that accompanying the realistic part of the text, 
 as this covers more ground; and secondly, to that expressing the 
 rhapsodic part. The music, then, to the realistic part consists prin¬ 
 cipally of a very plain style of recitative, a tempo , accompanied by 
 subtle harmony, of simple song, consisting of generally even-measured 
 sounds, which may be almost described as earnest speech in musical 
 effect, of purely dramatic chorus, and of independent orchestral music. 
 
 The musical illustration of the descriptive portions of the recita¬ 
 tive is often most graphic and suggestive. As examples may be cited, 
 “The blood is also gushing ’neath the scourge,” where the accom¬ 
 paniment suggests poignant suffering, the voice-part expressing in¬ 
 tense pity and sorrow; also, after the words “They extend on the 
 cross the Saviour’s sacred limbs”—which are recited amid surrounding 
 silence—a passage occurs for the orchestra, which has an almost painful 
 suggestiveness. To the words, “ From TIis feet, from His hands that 
 are torn by the nails,” the music is both sympathetic and solemn, 
 whilst at the context, “ The blood drops on the ground,” it involves a 
 chromatically ascending passage of common chords, each having its 
 third major. The unnaturalness, so to speak, of this progression, 
 together with the absence of dissonance, seem to fitly illustrate tra¬ 
 gedy the more dreadful that it is ordered . 
 
 As examples of sweeter expression we may refer to the words “ He, 
 though His eyes are dim with more than mortal anguish, &c,” and 
 also to the utterance “ Pardon their sin, &c.” The language here is 
 set to simple but melodious phrases, accompanied by the melody 
 typical of Christ. In both examples the earnest expression of the 
 vocal phrases seems to appropriately elevate and solemnity the 
 attending melody, which, though fine in character, and extremely 
 beautiful, seems by itself almost of too sensuous a beauty for its 
 purpose. 
 
 The music to the words placed in the mouth of Christ, is in the 
 form of simple recitative or simple song. The passage, “ Ye daughters 
 
5 
 
 of Israel, weep ye not for me, &c.,” combines the characters of pathos 
 and elevated composure. The accompaniment is noteworthy as 
 showing that both high melodic and harmonic beauty may be concen¬ 
 trated in phrases having an outline of only two notes. The following this 
 eloquent and calm utterance, by the chorus, borrowed from the Catholic 
 liturgy, Vex ilia Regis prodeunt, may not at first sight appear a happy 
 sequence, for the change,—leaving the accompaniment out of con¬ 
 sideration,—is a change from the modern style with its pliant and 
 clear accents of living feeling, to the uninflected and dreamy, though 
 grand strains associated with the expression of religious abstraction. 
 
 The comment by the composer to the effect that the union of this 
 ancient church theme with its martial accompaniment, signifies the 
 “ duration of both persecution and compassion throughout the ages of 
 the world,” does not supply the reason why he selected the Catholic 
 hymn as the expression par excellence of Christian compassion. Great 
 composers seldom vouchsafe to state in words all they feel and intend 
 to express, in their music. We, therefore, think it is not improbable 
 that M. Gounod had this general intention in his mind in putting forth 
 this massive composition, viz., to render the “ march ” suggestive of 
 cruelty and taunting, and the chorus expressive not only of Christian 
 compassion, but of the Christian ceremony of Worship and Praise, 
 destined to emerge ultimately from Christ’s crucifixion, this chorus 
 being, so to speak, a prophetic vision of the future Church. Thus, 
 as the revolting elements in the tragedy, are the necessary condition 
 of the moral victory it involves, so, in the music, the harsh and 
 taunting march, is the basis of the solemn Christian Hymn. 
 
 The chorus “ Ha! Thou that dost declare Thou destroyest the 
 Temple,” &c., is dramatic, whilst preserving clear musical form. The 
 phrases express scorn, and are at the same time melodic. The dra¬ 
 matic expression is aided largely by the orchestration. In one part, 
 after the words “ Come Thou down,” a light passage is played by the 
 wind instruments which seems to suggest ridicule. The mocking 
 chorus, for tenors and basses, “ Can He not save Himself,” also 
 combines dramatic expression with clear musical form, the subjects 
 having intrinsic musical effect, and at “ Let His Father give ear and 
 release Him,” softening into melody. The episode of “ The Two 
 Thieves ” contains a short passage in the form of simple song, to the 
 words of the penitent thief, which is very eloquent, effects peculiar 
 to M. Gounod occurring both in the melody and harmony, to the words 
 “ Wilt Thou remember Me ? ” the first time these words occur. The 
 change from the chord of Fg minor to F major in the accompaniment 
 to the word “ Truth,” in the utterance of Jesus, “ In very Truth,” is 
 also an effect characteristic of M. Gounod. 
 
 The “ Darkness ” is a rich piece of sombre effect, in the style of the 
 opening of “ Faust,” and like the latter, betrays M. Gounod’s peculiar 
 power of piercing the obscure of sound. At first detached chromatic 
 phrases are just distinguished from a generally crude harmonic en¬ 
 vironment, pianissimo. The remainder of the movement consists of a 
 succession of effects, the main outlines of which may be described as 
 
ascending and descending chromatic passages, occurring in different 
 parts, and forming portion of a highly complex though ordered 
 harmony. 
 
 There is a certain interest in following the path of M. Gounod’s rare 
 faculty of conceiving relation in sound, in the attempt to push the 
 exercise of this power to its limit—the attempt to see, as it were, how 
 far it can travel into the region of unmelodic and crude harmonic 
 effect without losing the consciousness of musical form. This kind of 
 effect tends to arouse that feeling of mystery which sound in the ab¬ 
 stract tends to produce, and as this is a feeling included in, or not far 
 removed from the effect upon us of darkness, we can understand the 
 propriety of this kind of music being chosen to represent darkness. 
 It is, however, worth while to observe that Handel is far from un¬ 
 successful in representing darkness in the accompaniment to “ And 
 behold, Darkness shall cover the Earth,” in the Messiah. Yet here 
 that ruling instinct of perspicuity, and the tendency to express him¬ 
 self in definite musical ideas, prevail, as they do everywhere else in 
 his works, and the sense of darkness is impressed with great force by 
 very simple means. 
 
 We now come to the numbers in this part where the composer, 
 taking the attitude of poetic apostrophe and contemplation, gives 
 freer play to the pure musical impulse, and, in doing so, attains, in 
 our opinion, the highest effect. These numbers are—the chorus, 
 “ The Eeproachesthe quartett and chorus, “ Beside the Cross 
 the solo, “While my Watch I am Keeping,” the chorales, “Lord 
 Jesus ” and “ Eor us the Christ is made a Victim availing.” All of 
 these are compositions of that rank to which only lofty genius can 
 attain. Clear in form, chaste in melody, graphic in harmony, and 
 deep with moral import, “ The Eeproaches,” “ Beside the Cross,” and 
 “Eor us the Christ,” are particularly impressive. The first is the 
 voice of a great remonstrance, rising to the utmost fervour, but never 
 departing from composure, and in the closing accents of which is the 
 calm and solemn acceptance of self-sacrifice. The second, a short 
 but expressive “ Stabat Mater,” is one more musical utterance of that 
 poignant, but personal grief, on which the Eoman Church dwells so 
 much when regarding the Crucifixion. In the last we hear that 
 always triumphant accent in music, which M. Gounod utters more 
 sparingly than Handel, Haydn, and Mendelsson, viz., the voice of 
 Eeligious enthusiasm. This grand impulse naturally kindles the 
 genius of the composer into full display. In the exultant sacred 
 chorus it is, therefore, customary for varied resources of musical 
 effect to combine in a full stream of expression. In the choruses of 
 this kind, of Handel, Haydn, and Mendelssohn, we accept an excess 
 of musical elaboration as not unnatural under the circumstances. In 
 the present instance, however, this element of elaboration is not con¬ 
 spicuous. Yet though comparatively brief and simple, there is in this 
 chorale all richness of effect commensurate with its fullness of import. 
 Consisting of broad, massive phrases of varied form, betraying in 
 their sequence the logic of musical symmetry, it is now apostrophic 
 
7 
 
 and dramatic in strong emphasis, now fraught with softer expression 
 in naive, heartfelt melody, and unbrokenly cumulative in musical 
 eloquence. Attaining towards the end the majesty of harmonic 
 effect, it terminates in a simple, formal phrase, which, contrasting 
 with all that precedes by markedly slower enunciation, concludes this 
 part of the work, with still increased impressiveness. 
 
 PAET II.—FEOM THE EESUEEECTION TO THE 
 
 ASCENSION. 
 
 The second part depicts the series of incidents occurring from the 
 Eesurrection to the Ascension, viz.—The Holy Women at the Sepul¬ 
 chre ; Jesus appearing to them; the Sanhedrim; the Holy Women 
 before the Apostles; Jesus appearing to the Apostles ; the Ascension. 
 This part opens with an apostrophic verse on the Eesurrection and 
 its import, supposed to be sung by a prophetic choir. In the prelude 
 to this chorus antiphonal effects occur between the trumpets, supposed 
 to sound from above, and the orchestra, amidst which occurs a solo 
 for the horns. The chorus, which is heralded by the organ, is an apos¬ 
 trophe to the Saviour and the Eesurrection, the latter being suggested 
 graphically by the persistent trumpet calls. The music generally is 
 clarion-like, and seems imagined as pealing through celestial space ; 
 its form is simple, its character annunciatory. 
 
 The music to the scene of the Holy Women at the Sepulchre, 
 as well as where they appear before the Apostles, is naive in ex¬ 
 pression, suggestive in form, fresh, and melodious in effect. Still 
 taking the music from No. 2 of this part (the Holy Women at the 
 Sepulchre) to No, 5 (the Holy Women before the Apostles) as far 
 as the end of the tenor chorus, “Though we fain would have be¬ 
 lieved you;” and comparing its effect upon us with the incidental 
 dramatic music to be found in the operatic works of M. Gounod, 
 we are 'not struck with any things superior in the case of the 
 “ Eedemption,” as to originality and nobility of subject or eleva¬ 
 tion of spirit. But in the air and chorus, “ Erorn Thy love as a 
 Eather,” which ushers in a repose from the march of incidents, and, 
 written from the abstract standpoint, expresses Eeligious aspiration in 
 simple language, the music, combining appropriate repose of character 
 with fullness of spirit, unfolds richness of form and elevated beauty of 
 expression, the composer here betraying undoubted inspiration. 
 
 The scene of Jesus appearing to the Apostles, in which His utter¬ 
 ance is set to recitative of the simplest construction, leads to the final 
 triumphant chorus, “ Unfold ye portals everlasting.” M. Gounod has 
 treated the words of this chorus in the ordinary dramatic spirit. 
 There is no attempt to treat them as partaking of an allegorical 
 character—as imagery expressive of Eeligious enthusiasm, and thus 
 charged with power to kindle varied and deep Eeligious feelings. 
 The note of this spiritual element is certainly present in the setting 
 
8 
 
 of Handel. At the same time, why this setting impresses us as having 
 a larger religious spirit may, to some extent, be due to the fact that 
 our religious feelings are associated so intimately with the style of 
 music of which Handel is the great exponent. The antiphonal effects 
 suggested by the question and answer of the text, are far more striking 
 in Handel than in M. Gounod. In Handel the themes to the question, 
 “ Who is the King of Glory,” and to the answers, “ The Lord, strong 
 and mighty,” and “ The Lord of Hosts,” possess both the strong con¬ 
 trast and the complementary character of question and answer. Both 
 these themes, again, contrast with and supplement the opening sub¬ 
 ject to “ Lift up your heads.” This superior antiphonal effect is due 
 to the fact that Handel’s chorus is based upon original thematic con¬ 
 struction, whilst the principal element in Gounod’s, is harmonic effect. 
 Waiving further comparison, the latter chorus, as expressive of a large 
 but positive situation, is highly effective. The composer having 
 chosen to conceive the text literally—as a definite though super¬ 
 natural picture—his treatment in this sense is very powerful. 
 
 PAKT III.—THE PENTECOST. 
 
 The soprano solo and the chorus, “ Lovely appear over the moun¬ 
 tains,” with which Part III. opens, have a broad, clear melody, with a 
 pastoral expression. Heard after the preceding music, the effect is 
 both peaceful and soothing. But it happens that this number has a 
 strong Mendelssonian complexion. Certain critics refer to this as if 
 they would imply that M. Gounod has plagiarised, consciously or un¬ 
 consciously. 
 
 We think that M. Gounod is aware of the character and the asso¬ 
 ciations of the themes he adopts. Composers of real power, when 
 carrying out some high purpose, are so free from misgiving with re¬ 
 gard to the speciality of their general plan, as to trouble themselves 
 very little concerning originality of detail. Certainly, in Handel, 
 Beethoven, Mendelssohn, and Gounod, the practice is visible of adopting 
 a phrase or a theme for a purpose, irrespective of originality, Such 
 composers appear to ask themselves this question, “ In this subject 
 have I the character and expression I want ? ” It would appear, then, 
 that absence of originality is not always an evidence of weakness, but 
 may betoken the indifference accompanying strength. 
 
 In the instrumental movement entitled “ The Apostles in Prayer,” 
 after a chant played by the strings , accompanied at regular intervals 
 by full harmony played by the wind instruments, pianissimo —which 
 latter effect may be intended to represent a celestial sympathetic 
 chorus—the music is so written that it tends continually to a particular 
 inflection. This may be intended to represent the shutting out from 
 the mind all irrelevant ideas, the converging of thoughts and feelings 
 in one direction, the concentration necessary for the act of prayer. 
 
 We now arrive at the final grand section of the work, entitled 
 “ Hymn of the Apostles.” The general character of this hymn is, 
 
9 
 
 and is intended to be, ecclesiastical. It is, thus, not a free, full ex¬ 
 pression of Religious enthusiasm, but the musical celebration of cer¬ 
 tain articles of Faith. This narrower spirit would naturally tend to 
 narrower effect; but, M. Gounod still further restricts the form of the 
 music by intentionally endeavouring to recall a certain style associated 
 with the Catholic liturgy. If musical effect is lost by this course on 
 the part of the composer, art-seriousness is gained. When a great 
 artist, having an exceptional opportunity to display his powers, re¬ 
 stricts this display in a spirit of moral earnestness, he elevates Art. 
 
 With regard to the music of the chorus in praise of the Trinity, 
 “The Word is Flesh become,” which is purely ecclesiastical in character, 
 it is obviously a great mistake to compare it with the grand choruses 
 of popular Oratorios, which are written, so to speak, in the free atmo¬ 
 sphere of Art. The atmosphere of this chorus is that of the Church, 
 not the concert room. It is simple and naked in style, because its 
 style belongs to a primitive stage of Art; its expression is hard, 
 though strong and masculine, in harmony with the ideas it attends, 
 which are arbitrary, isolated, indiffusive. When such ideas are enter¬ 
 tained in earnestness and enthusiasm, this, like other enthusiasm, 
 tends to express itself by repetition, and the repetition of stiff eccle¬ 
 siastical musical themes may seem monotonous. But that which to 
 the cold contemplator is monotony, is to the faithful—beauty. 
 
 But there is music in this concluding section, which, though com¬ 
 posed in the same spirit of moral earnestness, undergoes no restric¬ 
 tion in effect through the adoption of a special style ; we refer to the 
 music relating to the Miracles, and that expressive of the Beatitudes. 
 The music to the Miracles, with the exception of that referring to the 
 raising of the dead, does not attempt description, it is simply the 
 musical utterance of a fact; but the composer speaks in a hushed 
 spirit and, as as it were, with subdued utterance, like one announcing 
 some awe-inspiring occurrence. But at the words, “ The dead have 
 from the grave been recalled, and have risen; back to life and to light 
 at My summons returning,” the music rises into demonstrative 
 form and strong effect. The portentous rising of the treble by minor 
 thirds, as far as the word “ risen,” followed by the further and sudden 
 ascent through a major third to G #, (the tenors accompanying in 
 octaves) giving the idea of a vast jiiglit attained ; the pushing up, so 
 to speak, of the bass by semitones, beneath a prevailing harmony, 
 suggesting the exercise of inordinate power as under a weight, 
 and possibly intended to suggest the upheaving of the earth; the 
 signal-like effects of percussion occurring at regular intervals 
 throughout, suggesting an unearthly summoning ; the crude, strong- 
 beating, yet rich and copious harmony, making, as it were, an 
 atmosphere filled with glory and dread , all culminating in the perfect 
 cadence as a grand fortissimo effect, the soprano having the high B 
 as dominant,—this expresses the crowning miracle, perhaps as power¬ 
 fully as it is given to music by harmonic effect, to do it. 
 
 In the Beatitudes M. Gounod carries musical expressiveness to a 
 height rarely attained by the greatest composers, and never surpassed. 
 
10 
 
 t 
 
 In the first chorus, “ O come to Me,” the strains thrill with intense 
 sympathy, intense solicitude,—reflecting vividly the feelings of “ the 
 unhappy,”—whilst the construction, though rich in subtle effects, is 
 still all chaste in form, as it is all true in spirit. The next chorus, 
 commencing to the words, “ They are blessed, the poor in spirit,” is 
 warmer in tone and of soothing effect. If the emotional key-note 
 of the previous chorus is sympathy, that of the present one is consola¬ 
 tion. Whilst as true in expression as the former, the expression in 
 the latter case admits of a sweeter and more open melody. The 
 result is, an effect of elevated spirit and kindling beauty, such as in 
 this region of music—music appealing to the religious sentiments— 
 no composer has excelled. We feel that words are more than ever 
 vain in speaking of these two choruses ; they would alone render the 
 “ Redemption ” a boon to Art. 
 
 We now come to the peroration of the work, which is led to by a 
 short fugal chorus. Some critics would seem to regret the brevity of 
 this specimen of a style held by them in great veneration. The ten¬ 
 dency, peculiar to English critics, to hold this form of composition in 
 high respect, may be due to that conservative instinct of ours, which 
 is a sound, healthy instinct, and in moderation generally proves a 
 useful guide. At the same time, to regard the absence from an # 
 
 important modern work of a long display of technical construction, as 
 under all circumstances a matter of regret, is to betray that excess of 
 the conservative spirit which in Art is pedantry. 
 
 In the present instance the fugal style is relinquished in obedience v 
 
 to high art-impulse, which here prompts the composer to enter upon 
 a grand sequence of chords, the roots of which proceed in a des¬ 
 cending series of steps, each of a third, major and minor alternately. 
 
 This passage of chords involves a steady, full flow of massive harmony. 
 
 The foundation, ever giving way for a lower foundation, the bounds 
 of the harmony enlarging in every direction, produces through the 
 ear a feeling akin to that of endless space produced by the muscular 
 sense, hence the suggestion of infinity ; whilst the clear melting of 
 one chord into another, the perfect harmonic welding, suggests unity. 
 
 In this effect, then, a sense of these qualities is suggested —unity in 
 variety , and eternity ; and these are attributes of the conception of 
 the “ Trinity,” of which this chorus is M. Grounod’s musical expression. 
 
 Having decided to conclude his work with the expression of a Religious 
 conception, he has carried out this expression, not in a spirit of art- 
 display, but in a spirit of allegiance to his subject. 
 
 We have now concluded our remarks upon the particular effects of 
 this work, and it only remains to take from certain points of view, a 
 survey of it as a whole. The literary plan conforms generally to a 
 principle we have elsewhere laid down,* viz., that in the literary plan of 
 
 * “Musical Development.” 
 
 \ 
 
11 
 
 Oratorio, the main progressiveness should be moral, and this should 
 not be lost sight of in efforts to copy the form of the Drama. We 
 are of opinion that the literary plan of Oratorio should not be a copy 
 of that of the Drama, because the essential principle of the Drama, 
 viz., action accompanying utterance, is absent. The rejection of all 
 that machinery required for the display of action, as well as that 
 necessary for eliciting narrative interest, affords room to the composer 
 for full expression at those points of the work having deep moral in¬ 
 terest, as well as at those incidents which are striking from the point 
 of view of the picturesque. M. Gounod’s work conforms generally 
 to these views. Notwithstanding there is a march of incidents, 
 natural and supernatural, terminating at the descent of the Holy 
 Ghost, these incidents, when striking, as in the cases of the “ Dark¬ 
 ness,” the “ Earthquake,” “ Mary at the foot of the Cross,” and the 
 “Ascension,” are dwelt upon from the point of view of the picturesque, 
 whilst the uninterrupted progressiveness of the work is moral, the 
 grand intention being to develop the doctrine of The Redemption. 
 
 The appearance of this work is also important from the point of 
 view of Art development. It involves a departure from the style of 
 Mendelssohn’s oratorios quite as important as the departure of 
 Mendelssohn from Haydn, or Haydn from Handel. In Handel the 
 theme, or subject , is the unit of construction; and unfailing fluency 
 in the production of themes both original and elevated, combined 
 with the faculty in a high degree of broad and bold rhythmic design, 
 are the principal sources of his expression. In Haydn the theme, 
 though fraught with new melodic beauty, is also the unit of construc¬ 
 tion ; whilst this melodic beauty, together with richer harmonic effects 
 —still attendant upon the theme—are the elements of the expression. 
 In Mendelssohn, though a further change comes over both melody and 
 harmony, the theme is more than ever the unit of the construction, 
 as it appears in a new function in the accompaniment. 
 
 In the cases of all these composers the main conformation may be 
 traced in either the melodic or rhythmic outline. But in the present 
 work, harmony is erected to form the essential principle of the expres¬ 
 sion, in several places melodic effect, rhythmic effect, and even general 
 harmonic beauty, are rejected to give place to special harmonic effect. 
 
 We have the impression that this manner of M. Gounod cannot 
 be carried much further, that probably the future will reveal all the 
 principles to which we have referred, operating in new combinations, 
 and that certainly the theme or melody must always remain the 
 essential element of composition. 
 
 The appearance of this work is further important from the point of 
 view of the mission of art. It is not the musical setting of religious 
 poetry for the sake of art-display ; it is not the expression of religious 
 enthusiasm; but it is written in the spirit of religious duty. It 
 
12 
 
 might have involved a grander art-display if, issuing from a composer 
 of M. Gounod’s genius, it had been inspired by sympathy with broad 
 religious truths instead of Church doctrines—if it had been the free 
 voice of the deep Religious feelings underlying, and spreading beyond, 
 forms. The conception it irradiates may be, for Art purposes, 
 narrow, and the effects may be thus necessarily to some extent, con¬ 
 strained. Yet we think this very subjugation of art-display in a 
 spirit of moral earnestness, is a benefit to art, as calculated to raise 
 and define its position. 
 
 The art instinct and the moral instinct may be, and probably are, 
 different things. Still it cannot be denied that the highest power of 
 art-effect becomes unfolded when art is applied to the expression of 
 moral beauty. It would seem, therefore, that the complete apprecia¬ 
 tion of such art effect, can only occur where both artistic sensibility 
 and moral sympathy, are united. We think, then, that among other 
 respects in which the “ Redemption ” is an important work, not the 
 least is this—it demands moral sympathy as well as artistic. Here 
 M. Gounod sets a guiding example. And this leads us, in conclusion, 
 to record our belief that in the future, this, what we may term, moral 
 preparedness, will be universally considered to be an indispensable 
 condition for true participation in the beauty of all great art. 
 
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 WORKS BY THE SAME AUTHOR, 
 
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 MUSICAL DEVELOPMENT . 6 6 
 
 REFLECTIONS ON M. GOUNOD’S SONG “THE 
 
 WORKER ”.Nett 0 3 
 
 IN THE PRESS— 
 
 SOME REFLECTIONS UPON MUSICAL ART CON¬ 
 SIDERED IN ITS WIDER RELATIONS .. 5 0 
 
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